Friday, Apr 27 - MerleFest Festival Grounds
Every morning I wake and thank baby Jesus I am a biped, agile and have been blessed with a no mess ability to pee standing up. And in a steady torrent. Just about anywhere without attracting attention (well, there was that county deputy in Abington, Va., a while back who got a bit riled). Middle age is good.
Here's a tip for you campers. Your welcome to stay up as late as you want, but if it's 3 a.m. and your talking like your in your living room, don't complain at 6 a.m. if I'm banging pots like I'm in my kitchen.
Oh, and you've pitched your tent in poison ivy.
Thursday after an early evening catnap (middle age) to the sounds of Daily and Vincent (meh — great Stanley Brothers style harmonies, lay off the Cracker Barrel shtick), I made my way over to to the Dance Tent to catch some Blind Boy Chocolate and the Milk Sheiks. This Asheville, NC, street ensemble features five guys doing hokum string/jug band/blues music from the late 1920's and early ’30s. Guys in newsie caps, mutton chops, bowler hats with tattooed ears (ouch, that had to hurt), nose rings — yep, total 20-sumpthin freaks.
Calling out tunes by long (and soon to be) forgotten Blues and string players from the early part of the last century, Blind Chocolate plays hard-driving, bawdy, syncopated, all-acoustic string music. Lyrically rich in double entendres, liquor and murder. This ain't the square dance stuff my Uncle Blake played and my dad danced to in parlors across the Cumberland Plateau during the Great Depression; this is the music found in jukes and bars and back room drinkeries and the kids love it. Every 10 years or so, string music comes back into fashion, and that, my friends, is a good thing. John Hartford is clapping from his grave. It's comforting to witness people giving over to the coherent dissonance of barely tunable instruments, played together and with vehemence. Banjolin, steel guitar, washtub bass, washboard and tenor banjo, three guys trading vocals, four guys shouting in unison and giving call-backs. Dwight Hawkins (Blind Boy Chocolate?) plays saw, bones and the short scale tenor banjo in a style I've never seen before. And does it really well. The banjolin player, Nicholas Marshall (one of the Milk Sheiks?), occasionally picks up a thoroughly modern looking mandolin, temporarily breaking the temporal enchantment. After a lull at the top of their long set as people wondered in and grew accustom to being ass-to-elbow, the crowd was jumping and yelling, kids from 8 to 80 whirled and shimmied.
After a few cups of coffee this morning (Friday), I headed over to the Americana stage to check out another Asheville based band, The Honeycutters. North Carolina has a rich history of Alternativecountryrootsrockamericana bands. From The Backsliders to the Avett Brothers, this state churns ’em out and the natives support band after great band. The Honeycutters fit the Avett Brothers mold of instantly likable songs and gifted melodies. It's got to be hard, after playing clubs and bars, to get up early enough to hit the stage by 9:30 a.m. The Honeycutters brought their 'A' game and delivered an instantly familiar and pleasant set. Just what my psyche needed after listening all night to my campground neighbors. The mandolin player plays in well-worn territory while acoustic guitar player Peter James fills the space with sweet crosspicking and occasionally lays into his guitar in a fashion somewhat reminiscent of early Paul K. Lead singer Amanda Anne Platt's beautiful alto fills the air — add in some tasteful three part harmonies and you have a AAA Radio winner.
From the Americana tent, my soul freshly refilled, I headed back over to the Cabin Stage for a set by Blues historian, storyteller and performer Frutland Jackson (Fruit Land). Hailing from Chicago, Frutland covers seamlessly and flawlessly all styles of blues from delta to north Mississippi to Chicago to Piedmont, all the while telling in a remarkably engaging and non-professorial way what distinguishes one style from another. I've seen plenty of Blues player who like to lecture during performances, and mostly I feel like shouting, "Shut the fuck up and play!" but Frutland had me wanting to bum rush the stage in awe and anticipation that he may answer some questions I have about Depression-era singers and groups. First set I've seen in a lonnnnng while that ended to soon. Most of his songs were originals done in a specific style with a voice that ranged from guttural to heartfelt tremble (think Ledbetter doing "Goodnight Irene"). Outstanding!
Some of the many things to do at MerleFest besides running from one stage to another trying to catch acts is sitting around and playing music with other attendees. Along with an open mic area, there are three tents set up where you sit down and play — Old Timey, Bluegrass and Anything Goes. The Anything Goes tent is like a hippy camp-out with one bazillion guitars around a raging fire in the middle of the night, playing Casey Jones minus the alcohol and LSD. The stuff nightmares are made of, but if you've never done this kind of thing, there's no reason to be a jaded asshole like me — grab your guitar and jump in. Everyone is clean and welcoming.
I sat around the Old Timey Tent as it had the least guitar-to-other-instrument ratios. (By the way, aspiring musicians — learn guitar to impress the girls or boys; learn something else for a working job.) A couple of old timers were letting fly on some fiddle tunes. Quite nice. The guitar player was strumming a pre-1935 Martin D18. I know about these things, and they tickle me pink.
Time for lunch!
Beginning Sept. 3 at the Art Academy of Cincinnati's Childlaw Gallery (1212 Jackson St., Over-the-Rhine), the people behind the massive photography exhibition FotoFocus will set their lenses on the many great concert photographers in the region.
Reverberation: Capturing the Live Music Experience will coincide with the MidPoint Music Festival, located just off the 12th Street MidPoint Midway (the strip featuring vendors, food, live music the box truck carnival and much more). Hours will be extended during MPMF, with the exhibit staying open until 9 p.m. on Sept. 26 and 10 p.m. on Sept. 27-28. (Normal hours, starting Sept. 3, are 9 a.m.-9 p.m., Mondays-Fridays, and 9 a.m.-5 p.m. Saturdays and Sundays). The exhibit closes Sept. 29.
The work of 29 artists will be featured in the exhibit, including shots from legends like Melvin Grier (an award-winning photojournalist who shot many years for The Cincinnati Post) and Michael Wilson (whose portraits have been featured on the covers of albums by The Replacements, Over the Rhine, Lyle Lovett, Ron Sexmith and many others), as well as Maurice Mattei, Sean Hughes, Keith Klenowski and Kara Smarsh. (Click on the names to check out some of the artists' work.)
The inaugural Bunbury Music Festival — three days of top-shelf Alternative music at Cincinnati's riverfront Sawyer Point Park — is just four days away. All this week, CityBeat's music blog will be featuring samples from some of our "sleeper picks" for the fest, artists who some may not be as familiar with as they are Weezer or Death Cab for Cutie or Jane's Addiction.
Our next "sleeper" is Imagine Dragons, performing Saturday at 5:15 p.m. on the Bud Light Stage.
Founded in Las Vegas four years ago by primary songwriter Dan Reynolds, Imagine Dragons went through a variety of permutations before settling on the current line-up (guitarist Wayne Sermon, bassist Ben McKee, drummer Daniel Platzman). Since 2009, Imagine Dragons has turned out a quartet of impressive EPs, including the just-released Continued Silence, featuring the YouTube sensation “It’s Time,” all of which is a preview for the fall release of the band’s debut full-length, Night Visions. A quick spin through Continued Silence — the band’s first work for Interscope since signing last year and, like the new album, produced by renowned British Hop Hop boardsman Alex Da Kid — is like panning in a creek bedded with gold nuggets; glints of Coldplay, Everclear, Train and any number of other chart-topping Pop icons, but with a discernibly beat-driven Indie edge. As epic as Homerian poetry set to a U2 soundtrack and as intimate as a candlelight dinner in the Nevada desert.
If you like live music, sharing a port-a-potty with tens of thousands of people, camping and open drug use, you'll be excited to hear the the line-up for the 10th annual Bonnaroo has just been announced! Check it:
* Arcade Fire
* Widespread Panic
* The Black Keys
* Buffalo Springfield feat Richie Furay, Stephen Stills, Neil Young, Rick Rosas, Joe Vitale
* My Morning Jacket
* Lil Wayne
* String Cheese Incident
* Robert Plant & Band of Joy
* Mumford & Sons
* The Strokes
* The Decemberists
* Ray Lamontagne
* Iron & Wine
* Girl Talk
* Dr. John and The Original Meters performing Desitively Bonnaroo
* Alison Krauss and Union Station
* Pretty Lights
* Florence & the Machine
* Superjam ft. Dan Auerbach and Dr. John
* Explosions in the Sky
* Gogol Bordello
* Big Boi
* Scissor Sisters
* Gregg Allman
* Global Gypsy Punk Revue curated by Eugene Htz
* Warren Haynes Band
* Old Crow Medicine Show
* Bootsy Collins & the Funk University
* Wiz Khalifa
* Matt & Kim
* Grace Potter & the Nocturnals
* The Del McCoury Band and the Preservation Hall Jazz Band
* Mavis Staples
* Béla Fleck & the Flecktones
* Chiddy Bang
* Bruce Hornsby & the Noisemakers
* Loretta Lynn
* Cold War Kids
* The Walkmen
* Wanda Jackson
* Neon Trees
* Portugal. The Man
* Sleigh Bells
* Amos Lee
* Best Coast
* The Sword
* The Drums
* The Black Angels
* School of Seven Bells
* J. Cole
* Nicole Atkins & the Black Sea
* Freelance Whales
* Justin Townes Earle
* Ryan Bingham
* Deer Tick
* Band of Skulls
* Sharon Van Etten
* Abigail Washburn
* Omar Souleyman
* Twin Shadow
* Man Man
* The Low Anthem
* Alberta Cross
* Railroad Earth
* Jessica Lea Mayfield
* Smith Westerns
* The Head and the Heart
* Karen Elson
* Beats Antique
* Clare MaGuire
* Hayes Carll
I must admit after pushing back the announcement and basically saying they've got more headliners than they know what to do with, I am a little disappointed. More bands and comedy acts will be confirmed as we get closer to the festival, which takes over Manchester, Ten. June 9-12.
General admission tickets go on sale Saturday. Pre-sale tickets sold out on Black Friday in 2 hours, so they're expected to sell fast. Go here for more details. All you B'rooers out there, what do you think of this preliminary line-up?
Last night was a glorious night for music and glorious music was made. Combinations don't get much better than that. Things didn't start so well, though; a quick e-mail on Wednesday revealed that, for a variety of reasons, my friend Matthew Fenton wouldn't be making his annual pilgrimage from Chicago to our fair festival. And then the drive down I-75 was infuriatingly stop-and-go for no apparent reason, which had me grinding my teeth all the way downtown.
Every molecule of that dour energy was dissipated with the first show of the night as Cody ChesnuTT hit the Washington Park stage like a hydrogen bomb of positive vibration.
ChesnuTT's MidPoint appearance was also his Cincinnati debut and the sizable crowd that showed up to witness it was completely enthralled with his potent blend of Neo Soul, Reggae, Jazz and Pop.
ChesnuTT doesn't dress the part of Soul crooner; graphic T-shirt covered in cassettes, red cardigan, black sweats and an army helmet. The helmet is an odd sartorial choice, but ChesnuTT has explained that he's "fighting to keep the soul alive." Not the musical genre, but the spiritual essence at the center of all human beings. That's a pretty big mission for a singer/songwriter to assign himself, but last night's performance proved that ChesnuTT is more than up to the task.
Drawing strictly from last year's gorgeous Landing on a Hundred (he no longer does any songs from 2002's The Headphone Masterpiece, feeling that he's moved beyond the events in his life that inspired that album), ChesnuTT blew any trace of negativity into the stratosphere and replaced it with a rock-solid groove (courtesy of his absolutely stellar band) and a message of pure love. Not Barry White let's-ease-them-panties-down love, but love of self, love of mankind, love of life, which should ultimately lead to unconditional love for one other person.
Not that ChesnuTT doesn't recognize the world's dysfunction. In his brilliant "Everybody's Brother," he sings, "I used to smoke crack back in the day/I used to gamble rent money and lose/I used to dog nice ladies, used to swindle friends/But now I'm teaching kids in Sunday school and I'm not turning back." On the album, the song thumps along on a hearty Funk beat, but on stage, ChesnuTT delivers that opening verse with a sermon-like intonation, and the band swells around him with Gospel fervor and Soul intensity.
No matter what vibe ChesnuTT is channeling at any particular point in the show, he is a master showman, imploring the audience to join him, engaging them to become an integral part of the proceedings. And when he sings, when he digs deep into his creative core and unleashes his soul though his vocal cords, sweet mother of all that's holy, he sounds like the reincarnation of Marvin Gaye, the little brother that Stevie Wonder didn't know he had and the lost Marley sibling all rolled into one otherworldly package. Anyone who was not smiling at the end of Cody ChesnuTT's performance last night is damaged beyond the help of therapy and psychoactive drugs. Please come back to see us again soon, Cody. If Foxygen's slot is still open, Saturday night would be just fine. (Editor’s note: Cincy’s fantastic Wussy has claimed Foxygen’s Washington Park slot tomorrow.)
After Cody ChesnuTT's splendorous opening, it was Blues/Rock legend Shuggie Otis' turn to lead the Washington Park congregation, which he did in scorching style. Otis was barely in his teens when he started playing guitar with his father, R&B icon Johnny Otis, ultimately leading to session work with Al Kooper and Frank Zappa when he was just 16, and his 1970 debut solo album, Here Comes Shuggie Otis, at 17. And while Shuggie has laid low for long stretches in his nearly 50-year career, his current resurgence is sweet vindication for those periods when an indifferent music industry ignored his virtuosic brilliance, forcing Shuggie to turn away from the industry.
Shuggie's set started a little hesitantly as he acclimated to the stage set-up; at one point, he jokingly asked, "Can somebody show me how to work this shit?" Somebody did and he was off, peeling off incendiary riffs and razor sharp runs with a casual intensity. The set's sole slow spot was a new song called "Special," that sounded like Shuggie copying the numerous Pop artists who have copied him, but he followed it with a blazing version of "Me and My Woman" that erupted from the stage like a volcano and oozed through the assembled multitude with the heat and inevitability of the resultant lava flow. Once he and his stellar band got going, Shuggie Otis provided a transcendent moment in MidPoint history, the redemptive return of an astonishing talent that should never have gone away in the first place.
Only one thing could have dragged me away from the hair-raising, slack-jawed wonder of Shuggie Otis, and that's the triumphant return of Cincinnati’s Mad Anthony. Since the July van accident that could have been the band's literal epitaph, drummer Marc Sherlock was restrained by a neck brace and an order against all relatively physical activity. Outside of a little rhythmic tapping to keep his chops up, Sherlock was virtually drumless for three months, while guitarists Ringo Jones and Adam Flaig hit the road for some acoustic dates to keep the rent money coming, then set off for its first cross-country tour, which culminated with last night’s homecoming.
And so Mad Anthony took the triangular stage at The Drinkery, their first show with their full current lineup since the accident that nearly cost them everything. Jones and Flaig brought plenty of their patented frenzy to their acoustic gigs, but they've clearly missed their hypertalented timekeeper, which was evident from the visceral fury that permeated every note of last night's show. Sherlock couldn't have looked any happier; with every roll, every cymbal crash, every massive kick, his smile was a permanent fixture, and Jones and Flaig responded with a tumultuous joy that was a palpable presence in the room.
At a normal Mad Anthony show, the trio storms into an audience's frontal lobe with incomprehensible power. If The Stooges ate Black Sabbath and shit out three perfectly formed babies the next day that grew up and absorbed Punk, Pop and Rock influences like a bar towel, then wrung out those influences into shot glasses and downed them one liquor/beer/sweat/adrenaline slug, that would be Mad Anthony. Last night's return to The Drinkery was all that amplified to the third power. Naturally, they finished with "We Love This Fucking City." Naturally, this fucking city loves Mad Anthony. It's worked out so far.
After the major nut-kick of Mad Anthony, I tooled down to Arnold's to catch some Beatlesque sweetness courtesy of Canada’s The Shilohs. They were really quite good, and I definitely wanted to hear more of them, but they seemed intent on a mid-tempo set in the key of "If I Fell," and I wasn't quite in the mood for that. So I headed back to The Drinkery to catch locals Frontier Folk Nebraska's set.
After Mad Anthony's blistering presentation, I chatted up Kelly Thomas for a few minutes outside The Drinkery, and she had noted that Frontier Folk Nebraska was veering in a decidedly more electric direction, rather a shift from their traditional acoustic roots. When The Shilos didn't pan out for me, I decided to witness FFN's electric evolution for myself. Good decision.
The new FFN is plugged in and ready to whip any ass in the house. Imagine a world where The Ass Ponys channel Crazy Horse and the Bottle Rockets and Uncle Tupelo and you'll be close to the barely restrained muscle emanating from the new Frontier Folk Nebraska. All of this was evident on the band's eponymous 2011 album, but it's magnified to an incredible scale in the live setting. FFN recently lost founding bassist Steve Oder to a graduate program, which could have seriously altered the band's chemistry, but new bassist Matthew McCormick seems to have settled in nicely, alternating between a pulsing beat and runs that emulate lead solos, forming a slinky rhythm section with drummer Nathan Wagner. Meanwhile, frontman Michael Hensley and Travis Talbert create a tandem guitar attack that perfectly balances nuance and power. I liked where FFN was and I love where they are.
After FFN, I found my car and took a drive down to the Mainstay to catch London's blazing Rock power trio Leogun. Vocalist/guitarist Tommy Smith is a revelation, a genetic hybrid of Robert Plant and Jimmy Page in one electrified body, wringing sounds from his guitar that invoke all the greatest '70s translators of the Blues while maintaining a firm stance in the 21st century. Anchored by the thunderous rhythm section of bassist Matt Johnson and drummer Mike Lloyd, as slippery and as solid as Entwistle and Moon, Leogun swaggers and swings with retro inspiration and contemporary energy. They peeled through a set filled with tracks from their phenomenal debut, By the Reins, but one of the highlights was their completely unexpected and timber-rattling take on Kool and the Gang's "Jungle Boogie." Not sure when they'll be back, but I'll be there when they return.
• Music editor Mike Breen informed me that publisher Dan Bockrath was going to be making with the beers this year, but I had no idea he would begin his hop blitzkrieg so quickly and voluminously. Dan found me in the crowd at the start of Cody ChesnuTT's set and put a beer in my hand immediately. And just as I finished that first one, Dan reappeared at my side with yet another, claiming, "I feel so good I had to double down." After this MidPoint, I may be able to build a new wing onto the Beer Buying Hall of Fame with Dan's empties alone. You are a god that walks among men, Dan Bockrath, and I hope to see you every night this weekend.
• During Cody's lovely and moving "Love is More Than a Wedding Day," he announced that it might be a good time to dance with the one you love. I looked at Dan, Dan looked at me, but we dismissed the idea. It is a testament to Cody's soulful presentation that I actually considered it, though.
• Years ago, my good buddy Troy paid me the ultimate compliment when he spotted me at a show. He clapped me on the shoulder and said, "I know I'm at the right show when you're at it." The very same could be said for the ubiquitous King Slice. His appearance at a show is like the Good Housekeeping Seal of Approval. Follow him and see where he goes next. That's where the party will likely be the best.
• Also ran into Magnolia Mountain's Mark Utley, who's in the teeth of planning the next Music for the Mountains benefit show. The second MFTM disc is chock full of traditional goodness and the album and the concert will raise funds to help eliminate the mining practice of mountaintop removal. As Mark noted, "Nature gives women the ability to forget about the pain of childbirth so they'll ready to do it again. That's how it was for me with this concert." The pain is always worth it, man (says the guy who's not feeling the pain) … good luck and God speed.
• And on my way out of Shuggie Otis, I chanced upon Jim Blase, co-owner of Shake It Records and quite simply one of the finest human beings I've had the pleasure to and good fortune to know.
• Lots of folks turned out for Mad Anthony's return, including Kelly Thomas, who was an architect of two benefit shows to help the boys get back on their feet (and who is actually collaborating with the band on some new songs, which should be awesome). Also in attendance was former MA bassist Dave Markey, and his ebullient mom, who may have been the biggest fan in the room; I'm pretty sure she knew the words to every song. It was a beautiful thing.
• Jim Blase was also hanging out at the Frontier Folk Nebraska show, obviously showing support for Travis, who still puts in some time behind the Shake It counter. I was about to head over to say hello again but ran into old friend Danny Rupe, who I never get to see anymore except at random and all to infrequent MidPoint shows. He put my digits and e-mail add into his Jetsons phone, so maybe I'll hear from him with a little more timeliness now.
• Slice, The Black Owls' Brandon Losacker, Dave Markey and Ringo Jones were all hanging at the Leogun extravaganza. I was looking for my Class X compatriot Eddy Mullet, who had designs on the show, but I didn't see him so his plans must have changed. God, I hope it wasn't a kidney stone; that's what derailed his Bunbury experience. After the show, I had a quick chat with Tommy and Matt from the band as they were packing up to go, and then Ringo and I closed the Mainstay, as he regaled me with tales of Mad Anthony, and promises that their new material is the best they've ever done. I know they'll prove it when the time comes.
One of the Midwest’s best new music fests, Cincinnati’s own Bunbury Music Festival, presents its second annual event this weekend. With another stellar lineup for the three-day affair — including headliners like Fun., MGMT and Cincinnati-bred Indie Rock stars The National (whose latest album debuted at No. 3 on Billboard’s album chart), plus a great number of Greater Cincinnati’s top acts — a “sophomore slump” seems impossible.
Be sure to arrive early and check out some of the lesser-known acts; there are a lot of up-and-coming gems to discover. Below is the full schedule (click here to auto-download a PDF version of the schedule from the fest.)
Shows run Friday-Sunday and start at 2 p.m. Gates open at 1
p.m. each day. Tickets are $65 or $130 for three-day passes. (Kids 10
and under are free with a paying adult.) Keep your wristband on; Bunbury
allows re-entry, if you need to run to the car and pound a 40, er, grab
From BunburyFestival.com, here is what is and isn't permitted to bring to Bunbury:
What to Bring (Allowed Items)
- Sun Gear (e.g., sunglasses, sunscreen, etc.)
- Seating (e.g., folding chair, blanket, etc.)
- Bug Repellent (no Deet)
- Rain Gear (ponchos are best, but small, hand-held umbrellas are OK)
- Baby strollers
- Empty water bottled (no glass) or Cambelbak
- Wall mounted rapid charger (charging stations provide iPhone and mini-USB chords, but if you have your own chord, you won't have to wait)
What NOT to Bring (Prohibited Items)
- Weapons, fireworks or explosives of any kind
- Illegal substances (including narcotics) or drug paraphernalia
- Framed or large backpacks
- Glass containers of any kind or coolers
- Food, beverages or Cambelbaks that are full
- Carts, bicycles, skateboards, scooters, or personal motorized vehicles (including Segways). There is bike/scooter parking outside the event site
- Tents, large umbrellas or chairs that are NOT sand chairs (seat more than 9" off the ground)
- Pets (except service dogs)
- Any audio recording, professional camera or video equipment
- Moshing, crowd surfing, and/or stage diving
- Vending without a Bunbury license or permit
- Bills over $20. We won't accept them at the beverage booths.
There's more fun AFTER Bunbury at the Bunbury official after-parties, with loads of drink specials and no cover charge. Tonight, DJ Ice Cold Tony will spin at the official after-party at downtown's Igby's. Tomorrow, Bunbury performers Chairlift will DJ the after-party at aliveOne in Mt. Adams. And Sunday's after-party at downtown's The Righteous Room will have DJing by great Cincy Electro duo You, You're Awesome. (Friday and Saturday's parties start at approximately 11 p.m.; Sunday's starts at around 10 p.m.)
FRIDAY, JULY 12
MAIN STAGE: The Features (2:45 p.m.); Delta Rae (4:15 p.m.); Tegan and Sara (5:45 p.m.); Walk the Moon (7:45 p.m.); fun. (10 p.m.)
ROCKSTAR STAGE: Beat Club (2 p.m.); The Dunwells (3:30 p.m.); Red Wanting Blue (5 p.m.); Youngblood Hawke (6:45 p.m.); Devotchka (9 p.m.)
CINCINNATUS STAGE: Billy Wallace (2:45 p.m.); Pete Dressman (4:15 p.m.); Josh Eagle (5:45 p.m.); Jay Nash (7:45 p.m.)
BUD LIGHT STAGE: Public (2 p.m.); American Authors (3:30 p.m.); Everest (5 p.m.); Sky Ferreira (6:30 p.m.); Tokyo Police Club (8:30 p.m.)
LAWN STAGE: Alone At 3am (2:45 p.m.); Old Baby (4:15 p.m.); We Are Snapdragon (5:45 p.m.); Seabird (7:15 p.m.)
AMPHITHEATER STAGE: The Mitchells (2 p.m.); Ohio Knife (3:30 p.m.); State Song (5 p.m.); Buffalo Killers (6:30 p.m.); Those Darlins (8 p.m.)
SATURDAY, JULY 13
MAIN STAGE: Empires (2:45 p.m.); Robert Delong (4:15 p.m.); Twenty One Pilots (5:45 p.m.); Cake (7:45 p.m.); MGMT (10 p.m.)
ROCKSTAR STAGE: X Ambassadors (2:00 p.m.); Civil Twilight (3:30 p.m.); Chairlift (5 p.m.); We Are Scientists (6:45 p.m.); Divine Fits (9 p.m.)
CINCINNATUS STAGE: Margaret Darling (2:45 p.m.); Taylor Alexander (4:15 p.m.); Tim Carr (5:45 p.m.); Christopher Paul Stelling (7:45 p.m.)
BUD LIGHT STAGE: Culture Queer (2 p.m.); Vacationer (3:30 p.m.); The Mowgli's (5 p.m.); Oberhofer (6:30 p.m.); Atlas Genius (8:30 p.m.)
LAWN STAGE: The Ready Stance (2:45 p.m.); The Bears Of Blue River (4:15 p.m.); Black Owls (5:45 p.m.); You, You're Awesome (7:15 p.m.)
AMPHITHEATER STAGE: New Vega (2 p.m.); Messerly And Ewing (3:30 p.m.); Ben Walz Band (5 p.m.); The Pinstripes (6:30 p.m.); Bear Hands (8 p.m.)
SUNDAY, JULY 14
MAIN STAGE: Joe Purdy (2 p.m.); Gregory Alan Isakov (3:30 p.m.); Camera Obscura (5 p.m.); Belle & Sebastian (7 p.m.); The National (9 p.m.) (Read CityBeat's interview with The National here.)
ROCKSTAR STAGE: The Knocks (2:45 p.m.); A Silent Film (4:15 p.m.); Night Terrors of 1927 (6 p.m.); Yo La Tengo (8 p.m.)
CINCINNATUS STAGE: Ben Knight (2 p.m.); Jake Kolesar (3:30 p.m.); Mark Utley (5 p.m.); Channing & Quinn (7 p.m.)
BUD LIGHT STAGE: Gringo Star (2:45 p.m.); High Highs (4:15 p.m.); Savoir Adore (5:45 p.m.); Black Joe Lewis (7:45 p.m.)
LAWN STAGE: Mia Carruthers (2 p.m.); Bethesda (3:30 p.m.); The Harlequins (5 p.m.); DAAP Girls (6:30 p.m.)
AMPHITHEATER STAGE: The Upset Victory (2:45 p.m.); Green Light Morning (4:15 p.m.); The Hiders (5:45 p.m.); Daniel Martin Moore (7:15 p.m.)
Here is Bunbury's official Spotify playlist for the fest featuring many of the performers:
And, finally, here is the map of the Bunbury Festival grounds from bunburyfestival.com: